Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Paraguay and from Seoul.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1978.
I'm losing my edge.
To all the kids in London and Salvador.
I'm losing my edge to the art-school London kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Ossler to the grunge kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Fear. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Kaleidoscope,
Man Parrish,
London Community Gospel Choir,
World's Most,
Rakim,
Mr. Review,
Jeff Lynne,
New York Dolls,
Boz Scaggs,
The Offenders,
The Neon Judgement,
The Stooges,
Donald Byrd,
Dual Sessions,
Kango’s Stein Massive,
Avey Tare,
Procol Harum,
Jesper Dahlback,
Yellowson,
Arcadia,
Godley & Creme,
Lonnie Liston Smith,
Sight & Sound,
Deepchord,
Excepter,
Kevin Saunderson,
The Skatalites,
Amazonics,
Mary Jane Girls,
Little Man,
Minutemen,
Hashim,
The Buckinghams,
The Gories,
The West Coast Pop Art Experimental Band,
Deadbeat,
Joensuu 1685,
Grandmaster Flash,
The Gap Band,
Dark Day,
Ken Boothe,
The Vogues,
Marine Girls,
Scratch Acid,
Funky Four + One,
Gregory Isaacs,
A Flock of Seagulls,
Camron Feat. Jay Z And Juelz,
Crooked Eye,
Schoolly D,
Stereo Dub,
Harry Pussy,
Section 25,
Public Image Ltd.,
Ossler,
Bobby Hutcherson,
Strawberry Alarm Clock,
Leonard Cohen,
Rhythm & Sound,
Kerrie Biddell,
the Fania All-Stars,
Cecil Taylor,
Brick, Brick, Brick, Brick.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.